
i'Denison 'specialties 


U 


RILEY READINGS 
WITH LIVING 
PICTURES 



Price 35 Cents 


i 0 012 227 





















































































































































































































































































































































































































































































































































































DENISON'S ACTING PLAYS 

Partial List of Successful and Popular Play?,. Large Catalogue Free. 

DRAMAS, COMEDIES, 
ENTERTAINMENTS, Etc. 

M. F. 

Aaron Boggs, Freshman, 3 

acts, 214 hrs.(35c) 8 8 

Abbu San of Old Japan, 2 acts, 

2 hrs.(35c) 15 

After the Game, 2 acts, 114 

hrs.(25c) 1 9 

All a Mistake, 3 acts, 2 hro. 

(35c) . 4 4 

All on Account of Polly, 3 acts, 

j 2% hrs.(35c) 6 10 

And Home Came Ted, 3 acts, 

214 hrs.. <.(50c) 6 6 

Arizona Cowboy,' 4 acts, 2l4 

hrs.(35c) 7 5 

Assisted by Sadie, 4 acts, 2j4 

j hrs. .(50c) 6 6 

As a Woman Thinketh, 3 acts, 

2J4 hrs. '.(35c) 9 7 

At the End of the Rainbow, 3 

acts, 2l4 hrs.(35c) 6 14 

Black Heifer, 3 acts, 2 hrs. 

(25c) .9 3 

Boy Scout Hero, 2 acts, 1)4 hrs. 

(25c) 17 

Boy Scout? ’ Good Turn, 3 acts, 

1) 4 hrs.(25c) 16 2. 

Brookdale Farm, 4 acts, 2J4^ 

hrs. .(25c) 7 3 

Brother Josiah, 3 acts, 2 hrs. 

(25c) . 7 4 

Busy Liar, 3 acts, 214 h. (25c) 7 4 

Call of the Colors, 2 acts, 1J4 

h/s.(25c) 4 10 

Call pf Wohelo, 3 acts, 1)4 

h^s.(25c) 1C 

Came iflage of Shirley, 3 acts, 

2) 4 hrs.(35c) 8 10 

Civil Service, 3 acts, 2*4 hrs. 

(35c) . 6 5 

College Town, 3 acts, 214 

hrs. ..(35c) 9 8 

Deacon Dubbs, 3 acts, 2*4 hrs. 

(35c) . 5 5 

Deacon Entangled, 3 acts, 2 hrs. 

(35c) . 6 4 

Down in Dixie, 4 acts, 214 

hrs. (25c) 8 4 

Dream That Came True, 3 

acts, 214 hrs.(35c) 6 13 

Editor-in-Chief, 1 hr. ...(25c) 10 
Enchanted Wood, 1)4 h.(35c).Optnl. 
Everyyouth, 3 acts, 1J4 h. (25c) 7 6 
Face at the Window, 3 acts, 2 

hrs.(25c) 4 4 

For the Love of Johnny, 3 

acts, 2)4 hrs.(50c) 6 3 

Fun on the Podunk Limited, 

1 y 2 hrs.(30c) 9 14 

Gettin’ Acquainted, 25 min. 

(35c) . 1 2 

her Honor, the Mayor, 3 a.cts, 

2 hrs.(35c) 3 5 1 

T. S. DENISON & COMPANY, F 

M. F. 

High School Freshman, 3 acts, 

2 -hrs.(25c) 12 

Indian Days, 1 hr.(50c) 5 2 

In Plum Valley, 4 acts, 2% 

hrs....(25c) 6 4 

Jayville Junction, 1 % hrs. (25c) 14 17 
Kicked Out of College, 3 acts, 

214 hrs.(35c) 10 9 

Kingdom of Heart’s Content, 3 

acts, 2J4 hrs.(35c) 6 12 

Laughing Cure, 2 acts, 1)4 hrs. 

(35c) . 4 5 

Lightnouse Nan, 3 acts, 214 

hrs.(35c) 5 4 

Little Buckshot, 3 acts, 214 hrs. 

(25c) . 7 4 

Little Clodhopper, 3 acts, 2 

hrs.(35c) 3 4 

Mirandy’s Minstrels.... (30c) Optnl. 

Mrs. Tubbs of Shantytown, 3 

acts, 214 hrs.(35c) 4 7 

My Irish Rose, 3 acts, 2)4 hrs. 

(35c) . 6 6 

OH Maid’s Club, 1)4 hrs. (30c) 2 16 

Old Oaken Bucket, 4 acts, 2 

hrs.(25c) 8 6 

Old School at Hick’ry Holler, 

114 hrs.(30c) 12 9 

On the Little Big Horn, 4 acts, 

21/2 hrs.(25c) 10 4 

Poor Married Man, 3 acts, 2 

hrs. (35c) 4 4 

Prairie Rose, 4 acts, 2*4 h. (35c) 7 4 

Real Thing After All, 3 acts, 

214 hrs.(35c) 7 9 

Rustic Romeo, 2 acts, 214 

hrs.(35c) 10 12 

Ruth in a Rush, 3 acts, 2J4 

hrs. (35c) 5 7 

Safety First, 3 acts, 

2*4 hrs.(35c) 5 5 

Southern Cinderella, 3 acts. 2 

hrs.(30c) 7 

Spark of Life, 3 acts, 

2 hrs. (25c) 4 4 

Spell of the Imago, 3 acts, 214 

hrs.(35c) 10 10 

Star Bright, 3 acts, 2)4 h. (35c) 6 5 
Those Dreadful Twins, 3 acts, 

2 hrs. (25c) 6 4 

Thread of Destiny, 3 acts, 2*4 

hrs.(35c) 9 16 

Tony, the Convict, 5 acts, 2J4 

hrs.(25c) 7 4 

Trial of Hearts, 4 acts, 214 hrs. 

(35c) . 6 18 

Trip to Storyiand, 114 hrs. (25c) 17 23 

Uncle Josh, 4 acts, 214 hrs. (25c) 8 3 
Under Blue Skies, 4 acts. 2 

hrs. (35c) 7 10 

When Smith Stepped Out, 3 

acts, 2 hrs.(50c) 4 4 

Whose Little Bride Are You? 

3 acts, 214 hrs.(50c) 5 5 \ 

Winning Widow, 2 acts, 114 hrs. 

(25c) . 2 4 

Publishers, 623 S. Wabash Ave., Chicago 



























































































RILEY READINGS 

WITH 

LIVING PICTURES 

A NOVELTY ENTERTAINMENT 


ARRANGED BY 

LAURA CHRISTINE WEGNER 

1 ) 



0 > 


CHICAGO 

T. S. DENISON & COMPANY 
Publishers 




RILEY READINGS WITH LIVING PICTURES 


INCLUDING 

THE PRAYER PERFECT 


-pS £ 'I 0 ^ 
.\A/* 


GRANNY 

A LIFE-LESSON 

GRIGGSBY’S STATION 

AN OLD SWEETHEART OF MINE 
LITTLE ORPHANT ANNIE 
OUR HIRED GIRL 

OUT TO OLD AUNT MARY’S 
THE RAGGEDY MAN 

THE NAME OF OLD GLORY 


Each poem herein reprinted is from the Biographical 
Edition of the Complete Works of James Whitcomb 
Riley, copyright, 1913. Used by special permission of 
the Publishers, The Bobbs-Merrill Company. 



§>G!. A630265 

NOV 12 1921 

COPYRIGHT, mi. BY T. S. DENISON & COMPANY 


'wo | 





RILEY READINGS WITH LIVING PICTURES 

— 

During the World War this entertainment was given by 
the Worth While Red Cross Auxiliary of South Bend, In¬ 
diana, and was conceded to be the best money-raising enter¬ 
tainment ever given by the organization. 

Having received many inquiries regarding it, the author 
of the entertainment wrote to the publishers of Riley’s works, 
and fortunately, through the extreme kindness-and cour¬ 
tesy of the Bobbs-Merrill Co. of Indianapolis, secured per¬ 
mission to publish the ten poems illustrated in the present 
volume. , 

It is easy to understand why this entertainment became 
so popular, for the great public loves James Whitcomb Riley, 
with a tenderness only given the nearest and dearest. In 
his stories and poems he spreads the gospel of kindness 
all over the world. Riley has become a household name 
and a great favorite with all. School children throughout the 
country honor the anniversary of his birth. They are early 
taught the beauty of his works. Riley will always live in 
the hearts of the children. They love to read and re-read 
his poems. 

To father, Riley brings back his boyhood days. He takes 
away the years of toil and brings to him once more the 
feeling he thought he had lost forever. Riley remained a 
boy all his life, though honored by kings and sages. His 
heart was always that of a child. 

• • To mother, Riley says just the things that help her so 
much when she is weary, worried and over-burdened with 
the cares of life. He brings her peace and understanding, 
just as he does to little children. To Riley we are all 
children. 

To the children, Riley brings a treasure they will carry 
with them to old age. A treasure of this kind, to be of 
real value, must be secured early in life. The treasure 
that Riley has brought the children is an enriched and 

.3 



4 


RILEY READINGS WITH LIVING PICTURES 


beautiful imagination. For the charm and sweetness of 
his poems and stories have left a lasting impression upon 
their memory which time can never efface. 

To every American, Riley is the very spirit of America. 
In him is the ideal of democracy come to life. From the 
little girl, who said she felt all alone without him, to the 
President of the United States who paid him tribute, Riley 
is in the hearts of all, big and little. It is safe to say that 
as long as this old world shall stand and entertainment shall 
be given, there will always be an ever-increasing demand 
for the poetry of James Whitcomb Riley. 

“Riley Readings with Living Pictures” represents a 
variety of moods, including the humorous, pathetic, dram- 
* atic, poetic and patriotic. It is an ideal entertainment for 
club, lodge, church or school. Pictures have never been 
SO' popular as at the present time. While the living picture 
(tableau vivant) is an old form of entertainment, it has 
been greatly simplified and the art revived in recent years. 
And with the aid of modern facilities in electricity, wonder¬ 
fully beautiful effects can be produced. 

“Riley Readings with Living Pictures” will prove a 
source of delight to those in search of something simple 
and beautiful. The selections for this entertainment are 
well adapted to memorizing. They may, however, be read 
by a good reader. Or a class in expression might be formed 
a few weeks before the entertainment, and the ten selec¬ 
tions studied. It is not necessary to produce the entire 
number of pictures. Six or eight of these subjects, well 
posed, make a splendid showing and are well worth the 
effort. It is better to have a few well given, than many 
poorly presented. 

“Riley Readings with Living Pictures” can be presented 
on any platform. Scenery is not necessary. If desired by 
the committee in charge, the room may be suitably deco¬ 
rated. Flags, a large portrait of the poet, autumn foliage, 
or artificial hollyhocks may be used to good advantage. 
Music at the opening of the program also adds to the 
enjoyment of the presentation. 

Since so many have asked just how an entertainment 


RILEY READINGS WITH LIVING PICTURES 


5 


of this kind is given, here it is from beginning to end. 
By following these suggestions success may be expected for 
the undertaking. Its simplicity highly recommends it. 


PRODUCING THE ENTERTAINMENT. 

General Chairman. The first step necessary to insure 
success is to select a competent chairman (the same as a 
stage manager would be in a dramatic performance). The 
will of the chairman should be law with all who participate 
in the entertainment. A person should be chosen with 
whom all are willing to co-operate, someone with pleasing 
manner and who can command respect. The general chair¬ 
man first of all selects several capable assistants, persons 
ready to aid in every way possible. These assistants con¬ 
stitute an advisory board. The general chairman and as¬ 
sistants now appoint the sponsors. 

Sponsors. The duty of the sponsor is to be responsible 
for one of the pictures and to see that the one assigned 
to her is properly posed and costumed. There should be 
a sponsor selected for each picture, and each sponsor may 
select one or more assistants. 

Construction and Publicity Committees should be 
appointed. The construction committee should consist of 
several men, preferably with mechanical ability. This com¬ 
mittee provides, first, a picture frame (see Figure 1). This 
committee should bear in mind the fact that a frame of 
this kind is a good investment, for it can be used repeatedly 
for other living picture entertainments. The outfit might 
also be rented out, and in this way pay for the first cost. 

The Frame used for the picture is 7 feet wide and 6 
feet high, inside measurement. A frame about 8 inches 
wide, painted dull black, is better suited to the entertain¬ 
ment than the elaborate gilded frames sometimes used for 
living pictures. Any kind of wood will answer the pur¬ 
pose as it is covered with paint and the grain cannot be 
detected. 

The Mat. After the frame has been selected the next 
thing to consider is a mat for the picture frame (see Fig- 



t) RILEY READINGS WITH LIVING PICTURES 









































































































RILEY READINGS WITH LIVING PICTURES 


/ 


ure 2.) This is made of composition wall board, such as 
beaver board or compo board, and is about one-fourth of 
an inch thick. The plain white gives the best results. The 
mat is employed to mask the lights on the reverse side of 
frame which illuminate the pictures. The lights would not 
be seen by those seated directly in front of the frame, but 
without the mat they might be visible to those seated at 
the sides of the room. The mat, properly placed, covers 
any such defect. The mat should be neatly mitred and 
properly inserted. It should be 5 inches wide. 

Lighting is the next thing for the construction commit¬ 
tee to consider. Only twelve colored electric lights are nec¬ 
essary. The colors are Chinese blue, geranium red and 
amber. These colored bulbs are hung on electric exten¬ 
sion cords at regular distances apart on three sides of the 
frame only—four across the top and four on each side— 
and never across the bottom as in a dramatic performance. 
All lighting must come from sides and top of frame. Re¬ 
flectors made of cardboard or tin may be used to throw 
light to the center of the frame where the picture is being 
posed. The use of the reflector is strongly advised as it 
does not permit the loss of a single ray of light, which is 
all needed to give the desired brilliancy to the picture. 

If the audience can be seated fifteen feet away, no cov¬ 
ering is needed for the opening of the frame. If it is nec¬ 
essary to place seats nearer the frame, a thin violet colored 
filmy substance may be stretched across the opening. Tar¬ 
latan, the cheapest material available for this purpose, is 
strongly recommended. All wiring should be done in com¬ 
pliance with building and insurance laws and regulations. 
The construction work is really quite simple and the plan 
of procedure suggests itself in the process of construction. 
The lights must be so wired that all can be turned on and 
off at once; likewise the lights in the main auditorium. 
The room must be completely darkened while the pictures 
are being shown. 

A reading is given, and immediately following this the 
lights in the auditorium are turned off, at a signal from 


8 


RILEY READINGS WITH LIVING PICTURES 


the ladies stationed in front of the curtain, and the central 
curtains drawn aside. 

Background. Having frame, mat and lights all prop¬ 
erly arranged, the next important item is the background. 
(See Fig. 3.) This also is made of composition wall board, 
fastened to a frame. The background is box-shaped, 
minus the front and bottom sections. The back is six feet 
from the picture frame, nine feet from left to right and 
six and one-half feet high. The background is lightly 
nailed to a frame-work, which may be so built that it can 
be taken down and stored in a small space. It should be 
painted a full flat gray, never brilliant or shining, as the 
latter would have a tendency to reflect light, rather than 
absorb it. Light must always be absorbed upon the picture 
posed, to secure the best results. A section of the board 
is cut the proper size and lightly fastened across the top 
also. There should be a small opening on each side wall 
of the backing for entrance and exit. The doors should 
be just large enough to admit the largest stage property, 
the kitchen table used in “Our Hired Girl.” On the floor 
of the background place soft colored burlap, or an old rug, 
free from color. The floor covering should not show in 
the picture, being hidden by the mat. The floor covering 
is merely to prevent noise. 

The Curtains beyond the sides of the frame may be of 
a heavy, dark-colored material, shown in P'igure 4, to con¬ 
ceal everything “back stage.” In front of the frame, across 
the top, a wire is placed and a heavy pair of domestic cur¬ 
tains hung upon it with rings. These sliding curtains must 
be heavy enough not to be translucent when the lights are 
on and the poses in preparation. They are drawn apart 
at the proper time to exhibit each scene. Those in charge 
of showing the pictures are stationed in front of the frame 
and show a picture at the close of each reading. When 
there is sufficient applause the tableau is shown several 
times, and the parties posing are instructed by their spon¬ 
sors to retain their pose until all applause has ceased. A 
regular stage curtain of green baize has been used for this 
purpose, and is recommended if it can be easily obtained, 


RILEY READINGS WITH LIVING PICTURES 


9 


but the one just described will answer the purpose very well. 

The lighting of each picture is attended to by the sponsor 
in charge. Each picture may be lighted according to the 
artistic idea of the sponsor, provided it meets with the ap¬ 
proval of the general chairman and the advisory board. A 
general rehearsal is conducted and each sponsor makes a 
note of what lights are used and where they are located, 
so that the same lights will be used when the public pres¬ 
entation is given. It is well to bear in mind always the 
fact that all lights should be directed from the top and sides, 
and never any lights across the bottom as in dramatic per¬ 
formances. The central figure should have as much light 
as possible from the top, and then the softer tones added 
from the sides. 

While the selection is being read, the picture is being 
posed. 

Publicity. To be sure of success, a publicity committee 
is chosen several weeks prior to the date set for the enter¬ 
tainment. Tickets are distributed for sale among the mem¬ 
bers of the organization. The chairman should appoint a 
large committee to assist in giving publicity to the affair. 
The committee will attend to the printing of the tickets 
and programs. A copy of the program should be sent to 
the local newspapers which they usually publish gratis. A 
small paid advertisement should be placed in another sec¬ 
tion of the paper, in the same issue in which the program 
is to appear. Placards should be placed in schools, stores, 
offices, hotel lobbies, the Y. M. C. A. and the Y. W. C. A., 
in fact, any place where they will be seen by the towns¬ 
people. The more publicity you give the entertainment, 
the greater will be the sale of tickets. The name Riley alone 
is a big drawing card, and people of all classes greatly enjoy 
an entertainment of this kind. 


10 


RILEY READINGS WITH LIVING PICTURES 


PICTURES IN THE ORDER OF THEIR APPEAR¬ 
ANCE. 

The Prayer Perfect. 

A woman of rather youthful appearance, with clearly 
defined features—one who can quite naturally assume an 
attitude of reverence and devotion—is seen kneeling upon 
a soft cushion, hands gracefully folded, or may be holding 
a prayer-book, eyes cast downward. She wears a soft, 
loose-fitting garment and a scarf is thrown about the head 
and face. Lights should come from the sides of the frame 
upon the figure, red prevailing and softened by amber, with 
just a little of the Chinese blue in a corner for contrast. 
A little experimenting will soon show the sponsor the most 
pleasing effects. 

Granny. . 

An elderly woman, with a kind, motherly expression, is 
seated in an old-fashioned rocker. Nine grandchildren— 
Nanny, a little girl about five years old; Lucy Ellen, on 
“granny’s” lap, three years old; the remaining seven chil¬ 
dren may be selected according to the fancy of the sponsor. 
Young children are better suited to the parts. Jake, Wade, 
Silas Walker, ’Polio, Martha’s twins and Little Orphant 
Annie. For Annie, a girl about twelve years old would 
be best. This picture can be beautifully arranged and posed 
with just a little experimenting, and that which is truest 
to life and most natural is accepted as final. Two children 
are on the rocker; one on “granny’s” lap; several seated 
at her feet, eating cake, or pear or piece of pie; others 
standing about, and all with happy, smiling faces except 
Orphant Annie, who is inclined to be rather serious for 
one of her years. Plenty of light should come directly 
from the top upon the central figure. 

A Life-Lesson. 

A sweet-faced and rather demure little miss about six 
years old should be selected for this picture. She wear< 


RILEY READINGS WITH LIVING PICTURES 


11 


a simple little old-fashioned frock or quaint gingham apron, 
with straw hat or sun-bonnet hanging down her back. Close 
by there is a little table with a tea-set, and in her hand 
a broken doll. The back of her other hand is placed to her 
eye and she stands with puckered lips, looking down, just 
having finished a little “cry.” Amber lights prevail with just 
a bit of the blue and more of the geranium red. 

Griggsby's Station. 

The Jones girls are selected to illustrate this poem. One 
may be stout and the other slender, for contrast. They 
may wear old-fashioned costumes, such as should be avail¬ 
able in some old homestead attic. These should be used 
by all means if possible to secure them. Those with bustles, 
overskirts, polonaise and quaint neckwear help to make 
this a novel and attractive picture to the present gener¬ 
ation, and bring back recollections of a bygone day to the 
older people. Near an old-fashioned stand or table, with 
an old lamp or album placed upon it, the Jones girls are 
making “piece quilts,” one seated and.the other standing. 
An old-fashioned round bandbox or other little properties 
may be added. Light is generous and quite evenly dis¬ 
tributed. 

An Old Sweetheart of Mine. 

A sweet-faced young woman poses. A bit of fence with 
a gate was made for this picture, and nothing could be 
better suited for the pose. Artificial hollyhocks or green¬ 
ery of any available type may be used against the fence 
to relieve the plain white. The lady wears a quaint old- 
fashioned dress and hat. She is standing at the gate wait¬ 
ing for her young lover to come. This pose can be made 
exceptionally beautiful. Plenty of red light was used in 
this picture, to represent a sunny summer day. 

Little Orphant Annie 

A sober-faced little girl of twelve stands at an old kitchen 
table with red tablecloth upon it, a broom in her hand. 
Dishes stacked as if they had just been washed, and a lamp. 


12 


RILEY READINGS WITH LIVING PICTURES 


are on the table. Annie is dressed poorly, with faded 
gingham apron; bright red stockings; a rag ribbon tied 
in her hair, which is thrown over the shoulder toward the 
front. She is holding a broom. This picture is a great 
favorite with the grown-ups as well as the children. The 
light is upon the girl, with the rest of the room dimly 
lighted. 

Our Hired Girl. 

A rather stout woman, pleasant and sweet-natured, and 
a boy about six years old, are the characters. She is dressed 
for work, wearing a large bib apron. The table used in 
the Orphant Annie picture may be used again. The cloth 
is removed and a dough board and other materials suit¬ 
able for baking day are placed upon it. The woman has 
her sleeves rolled up and is stirring something in a huge 
yellow bowl. The boy stands watching her with a hungry 
look. He is barefooted, has an old straw hat pushed back 
on his head, and wears an old faded shirt and awkward 
length trousers, which are drawn well up under the arm- 
pits with suspenders. His face is not scrupulously clean, 
but slightly soiled. Use plenty of light. 

Out to Old Aunt Mary's. 

An elderly woman with pleasing features and the ability 
to smile sweetly and naturally, and two boys, aged about 
eight and ten years, are the characters. The table used 
in the two preceding pictures appears again. This time, 
instead of the red tablecloth, one of blue or yellow may 
be used. The woman, with smiling face, is cutting a pie. 
The two boys, one on each side, are watching her with pleas¬ 
ant anticipation. Or one of the boys may already have re¬ 
ceived a piece of the pie and may be seen about to take 
a bite of it, while the other is awaiting his. Other home¬ 
like articles may be placed upon the table, such as an old- 
fashioned water pitcher or any bit of old-time crockery. 
Both boys are barefooted. One has a foot raised and is 
resting upon the other leg, or he may be in any other fami¬ 
liar attitude that is characteristic of a boy. Both young- 


RILEY READINGS WITH LIVING PICTURES 


13 


sters are dressed very much like the boy in the picture of 
Our Hired Girl. Most of the light is on Aunt Mary, the 
central figure. 

The Raggedy Man. 

A kindly-faced, middle-aged man, inclined to the athletic 
rather than the corpulent in build, and a small boy about 
six years old, are the characters. The Raggedy Man may 
be in the act of sawing wood, or he may be leaning on his 
scythe, wiping his head with a red bandanna handkerchief. 
He has another kerchief tied about his neck. His clothes 
are appropriate for his work—old torn trousers, torn shirt, 
old boots. On the ground near by sits the boy, watching 
the man with marked adoration and wonder. The boy is 
barefooted and plainly dressed and wears an old hat. His 
arms may be clasped around his knees, or he may be whit¬ 
tling a stick, or have a switch in his hand—anything to 
make it lifelike. This picture also requires plenty of light, 
the amber and red prevailing as usual, with perhaps just 
a little of the blue for contrast. 

The Name of Old Glory. 

A slender young miss, aged about twelve, and preferably 
one with good, strong profile, represents Miss Columbia. 
Two boys, as near the same age and size as it is possible 
to secure, represent the Army and the Navy. They should 
be dressed in soldier and sailor suits. Miss Columbia, 
draped in a soft silk flag, smiles kindly upon the lads as 
they stand at attention. Many are the poses for a patriotic 
picture of this type, and the sponsor will have no difficulty 
in selecting the one best suited to her subjects. Plenty of 
light is required to give this picture the needed brilliancy. 
Use red and amber only. No blue is needed for contrast, 
the blue in the flag being sufficient. This pose may be held 
during the singing of the Star Spangled Banner to conclude 
the program. 


14 


RILEY READINGS WITH LIVING PICTURES 


THE POEMS 


First Reading 

THE PRAYER PERFECT. 

Dear Lord ! kind Lord ! 

Gracious Lord! I pray 
Thou wilt look on all I love, 
Tenderly to-day! 

Weed their hearts of weariness: 

Scatter every care 
Down a wake of angel-wings 
Winnowing the air. 

Bring unto the sorrowing 
All release from pain; 

Let the lips of laughter 
Overflow again; 

And with all the needy 
O divide, I pray, 

This vast treasure of content 
That is mine to-day! 


Second Reading 
GRANNY. 

Granny’s come to our house, 

And ho ! my lawzy-daisy! 

All the childern round the place 
Is ist a-runnin’ crazy! 

Fetched a cake fer little Jake, 

And fetched a pie fer Nanny, 
And fetched a pear fer all the pack 
That runs to kiss their Granny! 



RILEY READINGS WITH LIVING PICTURES 


15 


Lucy Ellen’s in her lap 
And Wade and Silas Walker 
Both’s a-ridin’ on her foot, 

And ’Polios on the rocker; 

And Marthy’s twins, from Aunt Marinn’s, 
And little Orphant Annie. 

All’s a-eatin’ gingerbread 
And giggle-un at Granny! 

Tells us all the fairy tales 
Ever thought er wundered— 

And ’bundance o’ other stories— 

Bet she knows a hunderd!— 

Bob’s the one fer “Whittington,” 

And “Golden Locks” fer Fanny! 

Hear ’em laugh and clap their hands, 
Listenin’ at Granny! 

“Jack the Giant-Killer’’ ’s good; 

And “Bean-Stalk” ’s another!— 

So’s the one of “Cindered’ ” 

And her old godmother 
That-un’s best of all the rest— 

Bestest one of any,— 

Where the mices scampers home 
Like we runs to Granny! 

Granny’s come to our house, 

Ho ! my lawzy-daisy ! 

All the ehildern round the place 
Is ist a-runniiv crazy! 

Fetched a cake fer little Jake, 

And fetched a pie fer Nanny, 

And fetched a pear fer all the pack 
That runs to kiss their Granny! 


16 RILEY READINGS WITH LIVING PICTURES 

Third Reading 

A LIFE-LESSON. 

There! little girl; don’t cry ! 

They have broken your doll, I know; 

And your tea-set blue, 

And your play-house, too, 

Are things of the long ago; 

But childish troubles will soon pass by.— 

There! little girl; don’t cry ! 

There! little girl; don’t cry ! 

They have broken your slate, 1 know; 

And the glad, wild ways 
Of your schoolgirl days 
Are things of the long ago; 

But life and love will soon come by.— 

There ! little girl; don’t cry ! 

There! little girl; don’t cry! 

They have broken your heart, I know; 

And the rainbow gleams 
Of your youthful dreams 
Are things of the long ago; 

But Heaven holds all for which you sigh.— 
There! little girl; don’t cry! 

Fourth Reading 

GRIGGSBY’S STATION. 

Pap’s got his pattent-right, and rich as all creation; 

But where’s the peace and comfort that we all had before ? 
Le’s go a-visitin’ back to Griggsby’s Station— 

Back where we ust to be so happy and so pore! 

The likes of us a-livin’ here! It’s jes’ a mortal pity 

To see us in this great big house, with cyarpets on the 
stairs, 


RILEY READINGS WITH LIVING PICTURES 17 

And the pump right in the kitchen! And the city! city! 
city!— 

And nothin’ but the city all around us ever’wheres! 

Climb clean above the roof and look from the steeple, 

And never see a robin, nor a beech or ellum tree! 

And right here in ear-shot of at least a thousan’ people, 
And none that neighbors with us or we want to go and 
see! 

Le’s go a-visitin’ back to Griggsby’s Station— 

Back where the latch-string’s a-hangin’ from the door, 

And ever’ neighbor round the place is dear as a relation— 
Back where we ust to be so happy and so pore! 

I want to see the Wiggenses, the whole kit-and-bilin’, 
A-drivin’ up from Shallor Ford to stay the Sunday 
through; 

And I want to see ’em hitchin’ at their son-in-law’s and 
pilin’ 

Out there at ’Lizy Ellen’s like they ust to do! 

I want to see the piece-quilts the Jones girls is makin’; 
And I want to pester Laury ’bout their freckled hired 
hand, 

And joke her ’bout the widower she come purt’ nigh a-takin’, 
Till her Pap got his pension ’lowed in time to save his 
land. 

Le’s go a-visitin’ back to Griggsby’s Station— 

Back where they’s nothin’ aggervatin’ any more, 

Shet away safe in the woods around the old location— 
Back where we ust to be so happy and so pore! 

I want to see Marindy and he’p her with her sewin’, 

And hear her talk so lovin’ of her man that’s dead and 
gone, 

And stand up with Emanuel to show me how’s he growin’, 
And smile as I have saw her ’fore she putt her mournin’ 
on. 


18 RILEY READINGS WITH LIVING PICTURES 

And I want to see the Samples, on the old lower eighty, 
Where John, our oldest boy, he was tuk and hurried—for 
His own sake and Katy’s—and I want to cry with Katy 
As she reads all his letters over, writ from The War. 

What’s in all this grand life and high situation, 

And nary pink nor hollyhawk a-bloomin’ at the door ?— 
Le’s go a-visitin’ back to Griggsby’s Station— 

Back where we ust to be so happy and so pore! 

Fifth Reading 

AN OLD SWEETHEART OF MINE. 

* * * 

As one who cons at evening o’er an album, all alone, 

And muses on the faces of the friends that he has known, 
So I turn the leaves of Fancy, till, in shadowy design, 

I find the smiling features of an old sweetheart of mine. 

The lamplight seems to glimmer with a flicker of surprise, 
As I turn it low—to rest me of the dazzle in my eyes, 

And light my pipe in silence, save a sigh that seems to yoke 
Its fate with my tobacco and to vanish with the smoke. 

’Tis a fragrant retrospection,—for the loving thoughts that 
start 

Into being are like perfume from the blossom of the heart ; 
And to dream the old dreams over is a luxury divine— 
When my truant fancies wander with that old sweetheart 
of mine. 

Though I hear, beneath my study, like a fluttering of wings. 
The voices of my children and the mother as she sings— 

I feel no twinge of conscience to deny me any theme 
When Care has cast her anchor in the harbor of a dream— 

In fact, to speak in earnest, I believe it adds a charm 
To spice the good a trifle with a little dust of harm,— 

For I find an extra flavor in Memory’s mellow wine 
That makes me drink the deeper to that old sweetheart of 
mine. 


RILEY READINGS WITH LIVING PICTURES 


19 


* * * 

A face of lily-beauty, with a form of airy grace, 

Floats out of my tobacco as the Genii from the vase; 

And I thrill beneath the glances of a pair of azure eyes 
As glowing as the summer and as tender as the skies. 

I can see the pink sunbonnet and the little checkered dress 
She wore when first I kissed her and she answered the 
caress 

With the written declaration that, “as surely as the vine 
Grew ’round the stump,” she loved me—that old sweetheart 
of mine. 

% :j: 

And again I feel the pressure of her slender little hand, 

As w’e used to talk together of the future we had planned,— 
When I should be a poet, and with nothing else to do 
But write the tender verses that she set the music to: 

When we should live together in a cozy little cot 
Hid in a nest of roses, with a fairy garden-spot, 

Where the vines were ever fruited, and the weather ever 
fine, 

And the birds were ever singing for that old sweetheart 

o o 

of mine. 

When I should be her lover forever and a day, 

And she my faithful sweetheart till the golden hair was 
gray; 

And we should be so happy that when either’s lips were 

dumb 

They would not smile in Tdeaven till the other’s kiss had 

come. 

* :|j sjt 

But, ah! my dream is broken by a step upon the stair, 

And the door is softly opened, and—my wife is standing 
there: 

Yet with eagerness and rapture all my visions I resign,— 
To greet the living presence of that old sweetheart of mine. 


20 


RILEY READINGS WITH LIVING PICTURES 


Sixth Reading 

LITTLE ORPHANT ANNIE. 

Little Orphant Annie’s come to our house to stay, 

An’ wash the cups an’ saucers up, an’ brush the crumbs 
away, 

An’ shoo the chickens off the porch, an’ dust the hearth, 
an’ sweep, 

Ah’ make the fire, an’ bake the bread, and earn her board- 
an’-keep; 

An’ all us other childern, when the supper things is done, 
We set around the kitchen fire an’ has the mostest fun 
A-list’nin’ to the witch-tales ’at Annie tells about, 

An’ the Gobble-uns ’at gits you 

Ef you 
Don’t 
Watch 
Out! 

Wunst they wuz a little boy wouldn’t say his prayers,— 

So when he went to bed at night, away up-stairs, 

His Mammy heerd him holler, an’ his Daddy heerd him 
bawl, 

An’ when they turn’t the kivvers down, he wuzn’t there 
at all! 

An’ they seeked him in the rafter-room, an’ cubby-hole, an’ 
press, 

An’ seeked him up the chimbly-flue, an’ ever’wheres, I 
guess; 

But all they ever found wuz thist his pants an’ round¬ 
about :— 

An’ the Gobble-uns’ll git you 

Ef you 
Don’t 
W atch 
Out! 

An’ one time a little girl ’ud alius laugh an’ grin, 

An* make fun of ever’one, an’ all her blood-an’-kin; 


RILEY READINGS WITH LIVING PICTURES 


21 


An’ wunst, when they was “company,” an’ ole folks wuz 
there, 

She mocked ’em an’ shocked ’em, an’ said she didn’t care! 
An’ thist as she kicked her heels, an’ turn’t to run an’ hide, 
They wuz two great big Black Things a-standin’ by her 
side, 

An’ they snatched her through the ceilin’ ’fore she knowed 
what she’s about! 

An’ the Gobble-uns’ll git you 

Ef you 
Don’t 
Watch 
Out! 

An’ little Orphant Annie says, when the blaze is blue, 

An’ the lamp-wick sputters, an’ the wind goes zvoo-oo! 

An’ you hear the crickets quit, an’ the moon is gray, 

An’ the lightnin’-bugs in dew is all squenched away,— 

You better mind yer parunts, an’ yer teachurs fond an’ dear. 
An’ churish them ’at loves you, an’ dry the orphant’s tear. 
An’ he’p the pore an’ needy ones ’at clusters all about, 

Er the Gobble-uns’ll git you 

Ef you 
Don’t 
Watch 
Out! 

Seventh Reading 

OUR HIRED GIRL. 

Our hired girl, she’s ’Lizabuth Ann; 

An’ she can cook best things to eat! 

She ist puts dough in our pie-pan, 

An’ pours in somepin’ ’at’s good and sweet, 

An’ nen she salts it all on top 
With cinnamon; an’ nen she’ll stop 
An’ stoop an’ slide it, ist as slow, 

In th’ old cook-stove, so’s ’twon’t slop 
An’ git all spilled; nen bakes it, so 


22 


RILEY READINGS WITH LIVING PICTURES 


It’s custard pie, first thing you know! 

An’ nen she’ll say, 

“Clear out o’ my way! 

They’s time fer work, an’ time fer play! 

Take yer dough, an’ run, child, run! 

Er I cain’t git no cookin’ done!” 

When our hired girl ’tends like she’s mad, 

An’ says folks got to walk the chalk 
When she’s around, er wisht they had ! 

I play out on our porch an’ talk 
To Th’ Raggedy Man ’at mows our lawn; 

An’ he says, “Whew!” an’ nen leans on 
His old crook-scythe, and blinks his eyes 
An’ sniffs all ’round an’ says, “I swawn! 

Ef my old nose don’t tell me lies, 

It ’pears like I smell custard-pies!” 

An’ nen he’ll say,— 

“Clear out o’ my way! 

They’s time fer work, an’ time fer play! 

Take yer dough, an’ run, child, run! 

Er she cain’t git no cookin’ done!” 

Wunst our hired girl, one time when she 
Got the supper, an’ we all et, 

An’ it wuz night, an’ Ma an’ me 

An’ Pa went wher’ the “Social” met,— 

An’ nen when we come home, an’ see 
A light in the kitchen door, an’ we 
Heerd a maccordeun, Pa says, “Lan’— 

O’ Gracious! who can her beau be?” 

An’ I marched in, an’ ’Lizabuth Ann 
Wuz parchin’ corn fer The Raggedy Man! 
Better say, 

“Clear out o’ the way! 

They’s time fer work, an’ time fer play! 
Take the hint, an’ run, child, run! 

Er we cain’t git no courtin’ done!” 


RILEY READINGS WITH LIVING PICTURES 


23 


Eighth Reading 

OUT TO OLD AUNT MARY’S. 

\\ asn’t it pleasant, O brother mine, 

In those old days of the lost sunshine 

Of youth—when the Saturday’s chores were through, 
And the “Sunday’s .wood” in the kitchen, too, 

And we went visiting “me and you,” 

Out to Old Aunt Mary’s?— 

* * * 

It all comes back so clear to-day! 

Though I am as bald as you are gray,— 

Out by the barn-lot, and down the lane 
We patter along in the dust again, 

As light as the tips of the drops of the rain, 

Out to Old Aunt Mary’s. 

* * 

We cross the pasture, and through the wood, 

Where the old gray snag of the poplar stood, 

Where the hammering “red-heads” hopped awry, 
And the buzzard “raised” in the “clearing”-sky 
And lolled and circled, as we went bv 
Out to Old Aunt Mary’s. 

* * * 

And then in the dust of the road again; 

And the teams we met, and the countrymen ; 

And the long highway, with sunshine spread 
As thick as butter on* country bread, 

Our cares behind, and our hearts ahead 
Out to Old Aunt Mary’s.— 

* * * 

Why, I see her now in the open door 

Where the little gourds grew up the sides and o’er 
The clapboard roof !—And her face—ah, me ! 

Wasn’t it good for a boy to see— 

And wasn’t it good for a boy to be 
Out to Old Aunt Mary’s? 

* * 


24 


RILEY READINGS WITH LIVING PICTURES 


And O my brother so far away, 

This is to tell you—she waits to-day 
To welcome us:—Aunt Mary fell 
Asleep this morning, whispering, “Tell 
The boys to come!” . . . And all is well 
Out to Old Aunt Mary’s. 

• • i 

Ninth Reading 

THE RAGGEDY MAN. 

O The Raggedy Man! He works fer Pa; 

An’ he’s the goodest man ever you saw! 

He comes to our house every day, 

An’ waters the horses, an’ feeds ’em hay; 

An’ he opens the shed—an’ we all ist laugh 
When he drives out our little old wobble-ly calf; 
An’ nen—ef our hired girl says he can— 

He milks the cow fer ’Lizabuth Ann.— 

Ain’t he a’ awful good Raggedy Man? 
Raggedy ! Raggedy ! Raggedy Man ! 

W’y, The Raggedy Man—he’s ist so good, 

He splits the kindlin’ an’ chops the wood; 

An’ nen he spades in our garden, too, 

An’ does most things ’at boys can’t do.— 

He clumbed clean up in our big tree 
An’ shooked a’ apple down fer me— 

An’ nother ’n’, too, fer ’Lizabuth Ann— 

An’ nother ’n’, too, fer The Raggedy Man.— 

Ain’t he a’ awful kind Raggedy Man? 
Raggedy ! Raggedy! Raggedy Man ! 

* * * 

An’ The Raggedy Man, he knows most rhymes, 
An’ tells ’em, ef I be good, sometimes: 

Knows ’bout Giunts, an’ Griffuns, an’ Elves, 

An’ the Squidgicum-Squees ’at swallers the’rselves 
An’, wite by the pump in our pasture-lot, 

He showed me the hole ’at the Wunks is got, 

’At lives ’way deep in the ground, an’ can 


RILEY READINGS WITH LIVING PICTURES 25 

Turn into me, er ’Lizabuth Ann! 

Er Ma, er Pa, er The Raggedy Man! 

Ain’t he a funny old Raggedy Man? 

Raggedy! Raggedy! Raggedy Man! 

* * * 

The Raggedy Man—one time, when he 
Wuz makin’ a little bow-’n’-orry fer me, 

Says “When you’re big like your Pa is, 

Air you go’ to keep a fine store like his— 

An’ be a rich merchunt—an’ wear fine clothes?— 

Er what air you go’ to be, goodness knows?” 

An’ nen he laughed at ’Lizabuth Ann, 

An’ I says “ ’M go’ to be a Raggedy Man!— 

I’m ist go’ to be a nice Raggedy Man!” 

Raggedy ! Raggedy ! Raggedy Man ! 

Tenth Reading 

THE NAME OF OLD GLORY. 

Old Glory! say, who, 

By the ships and the crew. 

And the long, blended ranks of the gray and the blue,— 
Who gave you, Old Glory, the name that you bear 
With such pride everywhere 
As you cast yourself free to thq rapturous air 
And leap out full-length, as we’re wanting you to?— 
Who gave you that name, with the ring of the same, 
And the honor and fame so becoming to you?— 

Your stripes stroked in ripples of white and of red, 

With your stars at their glittering best overhead— 

By day or by night 
Their delightfulest light 

Laughing down from their little square heaven of blue!— 
Who gave you the name of Old Glory? Say, who— 
Who gave you the name of Old Glory? 

The old banner lifted, and faltering then 
In vague lisps and whispers fell silent again. 


26 


RILEY READINGS WITH LIVING PICTURES 


Old Glory,—speak out!—We are asking about 
How you happened to “favor” a name, so to say, 
That sounds so familiar and careless and gay 
As we cheer it and shout in our wild breezy way— 

We—the crowd, every man of us, calling you that— 
We —Tom, Dick and Harry—each swinging his hat 
And hurrahing “Old Glory!” like you were our kin, 
When— Lord! —we all know we’re as common as sin! 
And yet it just seems like you humor us all 
And waft us your thanks, as we hail you and fall 
Into line, with you over us, waving us on 
Where our glorified, sanctified betters have gone.-— 
And this is the reason we’re wanting to know— 

(And we’re wanting it so! — 

Where our own fathers went we are willing to go.) — 
Who gave you the name of Old Glory—Oho!— 

Who gave you the name of Old Glory? 

The old flag unf urled with a billowy thrill 

For an instant, then wistfully sighed and was still. 

Old Glory: the story we’re wanting to hear 
Is what the plain facts of your christening were,— 

For your name—just to hear it, 

Repeat it, and cheer it, ’s a tang to the spirit 
As salt as a tear;— • 

And seeing you fly, and the boys marching by, 

There’s a shout in the throat and a blur in the eye 
And an aching to live for you always—or die. 

If, dying, we still keep you waving on high. 

And so, by our love 
For you, floating above, 

And the scars of all wars and the sorrows thereof, 

Who gave you the name of Old Glory, and why 

Are we thrilled at the name of Old Glory? 

Then the old banner leaped, like a sail in the blast. 
And fluttered an audible answer at last .— 


RILEY READINGS WITH LIVING PICTURES 


And it spake, with a shake of the voice, and it said 
By the driven snow-white and the living blood-red 
Of my bars, and their heaven of stars overhead— 
By the symbol conjoined of them all, skyward cast, 
As I float from the steeple, or flap at the mast, 

Or droop o’er the sod where the long grasses nod,— 
My name is as old as the glory of God, 

... So I came by the name of Old Glory. 


Clubbing a Husband 

By EDITH F. A. U. PAINTON 

Price, 35 Cents 

Comedy in 3 acts; 12 females. Time, 2 hours. Scenes: 2 in¬ 
teriors. Plot: It deals with the society women of a small town, 
who start a club to promote feminine independence. An Irish 
wash-lady and a colored cook are admitted but become unbearable 
in manner upon being 1 treated on equal terms. The rumor of 
one husband’s sudden illness strikes terror to everyone and a 
letter proposing marriage to a man-hating old maid breaks up the 
initial meeting. The dialogue sparkles and there is many a 
pungent thrust at feminine ways but nothing that will offend. 
No better play for women’s clubs. 

SYNOPSIS 

Act I.—A domestic tragedy. “I’ll never marry a traveling 
man again—never, never, never!” “Enter big sister—exit hus¬ 
band!” Dr. Georgiana Jordan, who hates men “like microbes.” 
“You shall all be no more slaves, but women!” 

Act II.—The ai'rival of the down-trodden females. “I always 
say just whatever George says.” Each has a point of view of 
her own. “A quilting-bee or a sewing circle was always good 
enough for me.” The question of “clubbing” husbands is dis¬ 
cussed thoroughly. “This is a movement like yeast. It has to 
work! It compels women to rise!” “The Club’s the thing!” 

Act III.—Bridget and Belle decide to “strike” early in the 
game. “Everybody works poor father!” The habit of “slavery” 
seems firmly rooted in the feminine mind. “Sambo—he am my 
man!” Maud makes a speech. “Down with the men!” “When 
the wives are away, the men will play.” Things are progressing 
beautifully. Unexpectedly the whole current of thought is re¬ 
versed. “The home’s the thing!” 


Ruth 

By ANNABEL LAWRENCE 

Price, 30 Cents 

Biblical drama in 3 acts; 7 males, 3 females. Can be played 
by 4 males with easy double. Also bridal guests and virgins. 
Time, 1% hours. Scenes: An Oriental interior and a garden, but 
it may be given in any church or room, with a few palms to indi¬ 
cate the garden and a few curtains, the room. It could be staged 
on a lawn. Characters: Boaz, Elimelec-h, Mahlon, Chilion, Ben¬ 
jamin, Priest, Groomsman, Ruth, Orpha and Naomi. 

SYNOPSIS 

Act I.—The home in Bethlehem. Naomi is distressed because 
of the famine. Elimelech and family decide to flee to Moab. 

Act II.—In Moab. Plans for a double wedding. Three widows. 
Ruth refuses to leave Naomi and accompanies her to Bethlehem. 

Act III.—Home of the wealthy Boaz.' Ruth gleans in his bar¬ 
ley fields. Marriage of Ruth and Boaz. 

Complete description of costumes and detailed stage directions. 
Easily produced at small expense* The beautiful story of Ruth is 
one of the gems of literature. Church and young people’s societies 
will appreciate this delightful version. 


T. S. DENISON & COMPANY, Publishers 

623 S. Wabash Ave., CHICAGO 




Kicked Out o£ College 

By WALTER BEN HARE 

Price, 35 Cents 

^ College farce in 3 acts; 10 males, 9 females. Time, 2 1 / £ hours 
ocenes: 2 interiors. An excellent comedy of masterly construe 
tion, abounding in incident and mirth provoking episode, rapid in 
action and cumulative in interest. Great opportunity is offered for 
juvenile comedian to impersonate a temperamental young lady. 
Side-splitting parts for coon and “cullud” wash-lady. Sporty col¬ 
lege boys, the hen-pecked husband, the brusque business man, the 
college grind, a suffragist leader, three dainty ingenues, a motherly 
old landlady, a frisky French demoiselle, a saucy kid of ten, and a 
slangy stenographer, add local college color and general interest. 
The most popular boy in college is so busy with an invention and 
with his various social and athletic activities, that he is dropped 
from the roll, but later makes good and is allowed to re-enter. 

SYNOPSIS 

Act I.—Room in "Ma” Baggsby’s college boarding house. Col¬ 
lege pranks. The new “fawncy dawnees.” Tad Cheseldine, the 
college cut-up, and his chum, Booties Benbow. “I’ve always told 
Booties that he ought to go to class at least once a week.” The 
auto race. A rehearsal for the college play. “They say the cheild 
is in London.” Betty and Jonquil visit the college. “I thought you 
were my long-lost darling baby!” Jonquil and Booties each think 
the other deaf. Kicked out of college. “Get married and settle 
down!” Booties introduces his first little wife. 

Act II.—Suite of rooms in Honeymoon Flats. The Benbows- 
entertain. Salamanca Spivins, the black wash-lady, on a rampage. 
“Booties, pay the lady what you owe her.” “Pay her yourself, 
you’re my wife.” “He’s done gone and married a man!” Booties 
at work on his patent air brake., Fleurette, the lady from gay 
Paree. Salamanca returns with Riley, the cop. Booties introduces 
his second little wife. A little tea party. The suffragette parade. 
The jealous Mrs. McCann makes it hot for Sandy. “How many 
wives have you?” “He’s joined the Mormons and hath taken unto 
himself two wives, and they’re both suffragettes.” 

Act III.—Same as Act II. Booties tries to explain. “The doc¬ 
tor positively forbids me to kiss anyone; it’s not good for my 
complexion.” Mr. Benbow begins to be suspicious. Riley, the 
cop, becomes a detective. “Not one penny of my money will ever 
come his way.” “My wife. Flora McFlimsy.” Jonquil and Betty 
get wise. “I’m awfully glad you’re not married, Booties.” Riley, 
disguised as a Freshman, gets the third degree. A trip to the 
moon. Mr. Gears offers Booties five thousand dollars for his in¬ 
vention. Booties becomes a student once again. The third little 
wife. 


All on a Summer’s Day 

By LINDSEY BARBEE 

Price, 25 Cents 

Comedy; 4 males, 6 females. Time, 40 minutes. A newly 
married couple, at a summer hotel, who wish to disguise the 
fact that they are bride and groom, so overplay the part that 
they are mistaken for a pair of clever thieves, who have recently 
been operating in that section. It is full of action and the porch 
gossips supply the comedy. 


T. S. DENISON & COMPANY, Publishers 

*• 623 S. Wabash Ave., CHICAGO 




Lighthouse Nan 

By SHELDON PARMER 

Price, 35 Cents 

A sea-coast drama, in 3 acts; 5 males, 4 females. Time, 2 1 / £ 
Lours. Scenes: 1 exterior, 1 interior. Its intense and human 
story vibrates with startling 1 incident and heart-gripping situa¬ 
tions only relieved by the cleanest comedy. It tells the story of 
a little uneducated waif, mistreated and overworked but full of 
merriment and kind, natural sympathy for good, A star role 
for a soubrette, one of the best ever written and ranking with 
Sand’s Fachon, Harte’s M’liss. No greater role of this type has 
ever been offered to amateurs. The other parts are almost equally 
good, leading man, Indian character heavy, dude, old man (gen¬ 
teel) and Ichabod Buzzer, a great part for a character comedian. 
The ladies’ roles are Nan, the little waif, Moll Buzzer, an old 
hag, Hortense Enlow, an adventuress who makes good, and Lady 
Sarah, an aristocratic young woman. The heart of the audience 
will beat in sympathy with the trials of Nan and rejoice at her 
ultimate triumph. SYNOPSIS 

Act I.—A Carolina lighthouse, ’long about sundown. Injun Jim 
starts trouble. “I’m an Injun, and an Injun never forgets a wrong!” 
Nan learns to read. The locket. “That’s the face I always dream 
about. Do you reckon she is my sure-enough mother?” The visitors 
from the city. Sir Arthur, the speculator. “I never seen a real 
live speckled-tater afore.” Nan goes hunting for a mollie cot¬ 
tontail and catches &n Injun. “Stand right whar you are, or I’ll 
blow you clean into Kingdom Come!” 

Act II.—Cap’n Buzzer and his mule January. “That ’ere mule 
gits more’n’ more like my wife every day he lives.” Nan bap- 
souses a biddy hen to keep her from setting. Nan poses as a 
lady, with disastrous results. Ned finds his wild rose. “You 
talk jest like the Bible.” Injun Jim’s secret. “I am your father!” 
The disgrace of Hortense. Mr. Enlow decides to give Nan a 
chance and send her to school. Injun Jim and Nan. “Hands up, 
Injun Jim!” 

Act III.—Two years later, Mr. Enlow’s library on Christmas 
night. “Either she leaves this house tomorrow, or I leave it!” 
Nan comes home from boarding school. Ichabod and Moll visit 
the city. The Cap’n sits on the couch. “Holy mackerel, I thought 
I set on a cat.” “January’s got the heaves, old Sukey’s got a 
calf, the old red hen’s got ten little chicks and the blacksmith’s 
wife’s got twins. Population is shore a-growin’!” All is right at 
last; with the ringing of Christmas chimes comes peace on earth; 
good-will to men! 


A Watch, a Wallet and a Jack of Spades 

By LINDSEY BARBEE 

Price, 25 Cents 

Comedy; 3 males, 6 females. Time, 40 minutes. Scene: A 
living room. Three famous detectives are engaged to unravel 
the mystery of the disappearance of a roomer. At intervals a 
number of his personal belongings are returned by post. The 
wise sleuths discover bushels of clues that involve everybody 
and bring about a humorous climax. The case was the inven¬ 
tion of an imaginative girl in an attempt to secure material for 
a mystery play. French, Irish and colored servants help supply 
the fun. Will appeal to schools as there is no love theme. 


T. S. DENISON & COMPANY, Publishers 

623 S. Wabash Ave., CHICAGO 




The Lady of the Library 

By EDITH F. A. U. PAINTON 

Price, 35 Cents 

A delightful comedy-drama of village life in 3 acts; 5 males, 

10 females. Time, 2 hours. Scene: Reading room of a public 
library; easily set. A most refined and lovable librarian of 60 
years, surprisingly youthful in appearance and manner, plavs the 
leading role. Through her selection of literature the town has . 
been brought up to a high standard. Although sincerely in love 
with a certain judge, she has allowed the whims of others to 
keep them apart for many years; however, they are finally united. 
Pearl, the pretty ingenue, a strong part. Bits of good comedy 
furnished by two typical old maids, a movie actress, newlyweds 
and the “proprietor of the dust rag.” A story that inspires the 
most pleasant thoughts and is bound to find its way to the heart 
of every audience. 

SYNOPSIS 

Act I.-—Morning at the Library. A movie actress in ordinary 
role. “Miss Avis won’t be an old maid when she’s a hundred.” 
Burr warns Pearl against the fate of a spinster. The missing 
book. Mrs. Nelson recalls old times. The new preacher feels 
called to set to rights a few things. “Would you close the doors 
of knowledge to your four-footed brothers?” Mrs. Edgeworth 
exerts her authority. A startling insinuation. Avis unlocks the 
chambers of the past. “God be merciful to all who are born 
women!” 

Act II.—Mrs. Edgeworth on the war-path. Sam assumes the 
blame. “I’m the guy that put the sin in Cincinnati.” The Judge’s 
return takes everybody by surprise. The preacher interviews 
Pearl and Susanne appeals for religious instruction. Mrs. Edge- 
north’s accusation is met by opposition. “If this was the Judg¬ 
ment Day and you were the Angel of Death itself, I could give 
no other answer!” “I would stake my very life on her honesty.” 

Act III.—Sam gets poetic through literary association. The 
preacher hears the story of Pearl’s origin. Avis resigns her 
position. The Judge hears of the pearl ring and finds the long- 
sought child. Mrs. Edgeworth’s change of heart. “Of course 
the dear child was not at all to blame.” The Judge reveals the 
mystery of the lost volume and Burr contributes his share to 
the revelation. Pearl speaks her mind. “I have nothing what¬ 
ever to say to Burr’s mother.” Mrs. Edgeworth rejoices. “I 
have always longed for a daughter.” Susanne frightens the min¬ 
ister. “Go away, lady!” Avis receives and answers her letter at 
last. The Judge “considers their ages” and gets his “turn” at 
last. “Is it too late to find the minister?” 


At Harmony Junction 

By FREDERICK G. JOHNSON 

Price, 25 Cents 

Comedy character sketch for a singing quartette; 4 males. 
Time, 20 minutes. The rube station agent, the colored porter, 
the tramp and the stranger supply mirth and melody while wait¬ 
ing for the train “due th’ day before yistiddy.” 


T. S. DENISON & COMPANY, Publishers 

623 S. Wabash Ave., CHICAGO 




How to Stage a Minstrel Show 

BY JEFF BRANEN AND FREDERICK G. JOHNSON 

Price, 35 Cents. 

This essential handbook, based on twenty years’ experience, 
is to every amateur minstrel director what blue-prints and specifi¬ 
cations are to a builder. It gives to the inexperienced producer 
an intimate working knowledge of his problem, and shows him how 
to work out original ideas as well as to use ready-made material. 
It covers thoroughly the subjects of female minstrels and novelty 
minstrels as well as the regulation “circle” formation. And it con¬ 
tains a generous chapter of crisp, fresh crossfire. 

CONTENTS. 

Chapter I.—Styles in Minstrel Shows. 

Evolution of Minstrel Shows—Men or Women, or Both—Black 
or White—Circle or Novelty. 

Chapter II.—Organizing the Troupe. 

Assembling the Talent—Organizing the Circle—Talent for 
the Olio. 

Chapter III.—Putting the Show Together. 

Building the Framework—Opening and Closing—Tambourines 
and Bones—Selecting the Songs—Arranging the Eng Gags— 
A Skeleton Program—Staging the Opening Chorus—Putting 
the Gags Across—Stunts for the Olio. 

Chapter IV.—Conducting Rehearsals. 

Calling Rehearsals—Punctuality Essential—Save Time with 
Group Rehearsals—Rehearsing the Ends—Rehearsing the Mu¬ 
sic—Measuring the Show—The Dress Rehearsal—Make It 
Snappy. 

Chapter V.—The First-Part. 

Regulation Settings—“Pyramid” Settings—Novelty Settings— 
A Cabaret First-Part—Military First-Part—For Female Min¬ 
strels—College First-Part—Oldtime First-Part—Other Novelty 
Settings—General Suggestions. 

Chapter VI.—The Olio. 

Vaudeville De Luxe—Opening the Olio—Arranging the Olio— 
When Talent is Scarce. 

Chapter VII.—The Afterpiece. 

Make ’Em Laugh—Right Length for Afterpiece—Rehearse T1 
Thoroughly. 

Chapter VIII.—Stage, Scenery and Music. 

Make Your Show Fit the Stage—Scenic Equipment—Harmony 
in Color—Renting Scenery—Selecting Settings—Minstrel Music 
- —Music Rehearsals—Using an Orchestra. 

Chapter IX. —Make-Up and Costumes. 

Using Burnt Cork—White-Face Make-Up—The Costume 
Scheme—Endmen’s Costumes. 

Chapter X. —Advertising. 

<3et Plenty of Publicity—Duty of the Press Agent—Advertising 
Expense—Ordering the Printing—Buying Ad Space. 

Chapter XI.—The Big Night. 

Staff Duties—Start Promptly—The Last Word. 

Chapter XII.—Original Minstrel Gags 
Appendix.—Bibliography of Minstrel Material. 

T. S. DENISON & COMPANY, Publishers 

623 South Wabash Avenue, CHICAGO 



DENISON'S ACTING PLAYS 

Partial List of Successful and Popu lar Plays. Large Catalogue Free 

M. F. 

Great Medical Dispensary, 30 m. 6 
Initiating a Granger, 25 min.. 8 
Kansas Immigrants, 20 min... 5 1 
Lottie Sees It Through, 35 min. 3 4 

Pair of Lunatics, 20 min. 1 1 

Pat, the Apothecary, 35 min.. 6 2 
Please Pass the Cream, 20 min. 1 1 
Second Childhood, 15 min.... 2 2 
Smith’s Unlucky Day, 20 min.. 1 1 

That Rascal Pat, 30 min. 3 2 

Two Aunts aftd a Photo, 20 m. 4 
Two Gentlemen in a Fix, 15 m. 2 
Wanted: A Hero, 20 min. 1 1 

VAUDEVILLE SKETCHES 
Price 25 Cents Each 

Amateur, 15 min. 1 1 

At Harmony Junction, 20 min. 4 
Breakfast Food for Two, 20 m. 1 1 

Cold Finish, 15 min.2 1 

Coming Champion, 20 min.... 2 
Fresh Timothy Hay, 20 min.. 2 1 

Her Hero, 20 min. 1 1 

Hey, Rube! 15 min. 1 

It Might Happen, 20 min. 1 1 

Little Miss Enemy, 15 min.... 1 1 
Little Red School House, 20 m. 4 
Marriage and After, 10 min.. 1 
One Sweetheart for Two, 20 m. 2 

Oyster Stew, 10 pun. 2 

Pete Yansen’s Curl’s Moder, 10m. 1 
Quick Lunch Cabaret, 20 min.. 4 

Si and I, 15 min..... 1 

Special Sale, 15 min. 2 

Street Faker, 15 min. 3 

Such Ignorance, 15 min.2 

Sunny Son of Italy, 15 min.. 1 

Time Table, 20 min. 1 1 

Tramp and the Actress, 20 min. 1 1 

Troubles of Rozinski, 15 min.. 1 
Two Jay Detectives, 15 min.. 3 
Umbrella Mender, 15 min.... 2 
Vait a Minute.. 2 

BLACK-FACE PLAYS 
Price 25 Cents Each 

Axin’ Her Father, 25 min. 2 3 

Booster Club of Blackville, 25 

min..10 

Colored Honeymoon, 25 min... 2 2 
Coon Creek Courtship, 15 m... 1 1 
Coontown Thirteen Club, 25 m.14 
Darktown Fire Brigade, 25m.,10 
Good Mornin’ Judge, 35 min.. 9 2 

Hungry, 15 min. 2 

Love and Lather, 35 min. 3 2 

Memphis Mose, 25 min........ 5 1 

Oh, Doctor! 30 min.. 6 2 

Troubled by Ghosts, 10 min... 4 
What Happened to Hannah, 15 

min. 1 1 


FARCES, COMEDIETAS, Etc. 

Price 25 Cents Each 

M. F. 

All on a Summer’s Day, 40 min. 4 6 
Aunt Harriet’s Night Out, 35 

min. 1 2 

Aunt Matilda’s Birthday Party, 

35 min. H 

Billy’s Chorus Girl, 30 min. ^.2 3 
Borrowed Luncheon, 20 min.. 5 
Borrowing Trouble, 20 min.... 3 5 
Case Against Casey, 40 min...23 

Class Ship, 35 min. 3 8 

Divided Attentions, 35 min... 1 4 
Fun in Photo Gallery, 30 min.. 6 10 
Getting Rid of Father, 20 min. 3 1 

Goose Creek Line, 1 hr. 3 10 

Great Pumpkin Case, 35 min.. 12 
Hans Von Smash, 30 mi"’,... 4 3 

Honest Peggy, 25 min._ ,. 8 

Irish Linen Peddler, 40 min... 3 3 
Just Like a Woman, 35 min... 3 3 

Last Rehearsal, 25 min. 2 3 

Men Not Wanted, 30 min.... 8 

Mother Goose’s Goslings, 30 m. 7 9 
Mrs. Jenkins’ Brilliant Idea, 35m. 8 

Mrs. Stubbins’ Book Agent, 30 m. 3 2 
Not a Man in the House, 40 m. 5 

Paper Wedding, 30 min. 1 5 

Pat’s Matrimonial Venture, 25 

min. 1 2 

Patsy O’Wang, 35 min. 4 1 3 

Rummage Sale, 50 min. 4 10 

Sewing for the Heathen, 40 

min. 9 

Shadows, 35 min.,. 3 4 

Sing a Song of Seniors, 30 min. 7 
Taking Father’s Place, 30 min. 5 3 
Teacher Kin I Go Home, 35 

min. 7 3 

Too Much of a Good Thing, 45 

min. 3 6 

Two Ghosts in White, 20 min.. 8 

Two of a Kind, 40 min. 2 3 

Uncle Dick’s Mistake, 20 min.. 3 2 
Wanted: a Correspondent, 45 m. 4 4 
Watch, a Wallet, and a Jack of 

Spades, 40 min. 3 6 

Whole Truth, 40 min. 5 4 

Who’s the Boss? 30 min. 3 6 

Wide Enough for Two, 45 min. 5 2 
Wrong Baby, 25 min. 8 

FARCES, COMEDIETAS, Etc. 

Price 15 Cents Each 

April Fools, 30 min.. 3 

Assessor, The, 15 min. 3 2 

Baby Show at Pineville, 20 min. 19 

Before the Play Begins, 15 

min. 2 1 

Billy’s Mishaps, 20 min. 2 3 

Country Justice, 15 min.8 

Cow that Kicked Chicago, 25 m. 3 2 
Family Strike, 20 min....*.. 3 3 
First-Class Hotel, 20 min.... 4 
For Love and Honor, 20 min.. 2 1 
Fudge and a Burglar, 15 min.. 5 


A great number of 
Standard and Amateur PBays 
not found here are listed in 
Denison's Catalogue 


T. S. DENISON & COMPANY, Publishers, 623 S. Wabash Ave.,Chicago 






















































POPULAR ENTERTAINMENT BOOKS 

Price, illustrated Paper Covers, 35 cents each 



I N this Series 
are found 
books touching 
every feature 
in the enter¬ 
tainment field. 
Finely made, 
good paper, 
clear print and 
each book has 
an attrac t i v e 
individual cov¬ 
er design. 


A Partial List 

DIALOGUES 

All Sorts of Dialogues. 

Selected, fine for older pupils. 
Catchy Comic Dialogues. 

"Very clever; for young people. 
Children's Comic Dialogues. 

From six to eleven years of age. 
Country School Dialogues. 

Brand new, original. 

Dialogues for District Schools. 

For country schools. 

Dialogues from Dickens. 

Thirteen selections. 

Friday Afternoon Dialogues. 

Over 60,000 copies sold. 

From Tots to Teens. 

Dialogues and recitations. 
Humorous Homespun Dialogues. 

For older ones. 

Little People’s Plays. 

From 7 to 13 years of age. 
Lively Dialogues. 

For all ages; mostly humorous. 
Merry Little Dialogues. 

Thirty-eight original selections. 
When the Lessons are Over. 

Dialogues, drills, plays. 

Wide Awake Dialogues. 

Original successful. 

SPEAKERS, MONOLOGUES 

Choice Pieces for Little People. 

A child’s speaker. 

Th • Comic Entertainer. 

Recitations, monologues, dialogues. 
Dialect Readings. 

Irish, Dutch, Negro, Scotch, etc. 
The Favorite Speaker. 

Choice prose and poetry. 

The Friday Afternoon Speaker. 

For pupils of all ages. 
Humorous Monologues. 

Particularly for ladies. 
Monologues for Young Folks. 
Clever, humorous, original. 


Monologues Grave and Gay. 

Dramatic and humorous. 
Scrap-Book Recitations. 

Choice collections, pathetie, hu¬ 
morous, descriptive, prose, 
poetry. 15 Nos., per No. 85c 

DRILLS 

The Best Drill Book. 

Very popular drills and marches. 
The Favorite Book of Drills. 

Drills that sparkle with originality. 
Little Plays With Drills. 

For children from 6 to 11 years. 
The Surprise Drill Book. 

Fresh, novel, drills and marches. 

SPECIALTIES 

The Boys’ Entertainer. 

Monologues, dialogues, drills. 
Children’s Party Book. 

Invitations, decorations, games. 
The Christmas Entertainer. 

Novel and diversified. 

The Days We Celebrate. 

Entertainments for all the holidays. 
Good Things for Christmas. 

Recitations, dialogues, drills. 
Good Things for Sunday Schools. 

Dialogues, exercises, recitations. 
Good Things for Thanksgiving. 
A gem of a book. 

Good Things for Washington 
and Lincoln Birthdays. 

Little Folks' Budget. 

Easy pieces to speak, songs. 

One Hundred Entertainments. 

New parlor diversions, socials. 
Patriotic Celebrations. 

Great variety of material. 
Pictured Readings and Tableaux. 

Entirely original features. 
Pranks and Pastimes. 

Parlor games for children. 
Shadow Pictures, Pantomimes, 
Charades, and how to prepare. 
Tableaux and Scenic Readings. 

New and novel; for all ages. 
Twinkling Fingers and Sway¬ 
ing Figures. For little tots. 
Yuletlde Entertainments. 

A choice Christmas collection. 

MINSTRELS, JOKES 

The Black-Face Joker. 

Minstrels’ and end men’s gags. 
A Bundle of Burnt Cork Comedy. 

Monologues, stump speeches, etc. 
Laughland, via the Ha-Ha Route. 

A merry trip for fun tourists. 
Negro Minstrels. 

All about the business. 

The New Jolly Jester. 

Funny stories, jokes, gags, etc. 

Large Illustrated Catalogue Free 


T.S.DENISON & COMPANY,Publishers, 623S.WabashAve.,Chicago 





















